Alexander Deineka entered the history of national art primarily as the author of mosaic panels and large thematic paintings, as an enthusiastic admirer of every technique, earthly and heavenly, as well as an admirer and connoisseur of various types of physical culture and sports. His outstanding artistic gift, remarkable energy Deineka put in the service of the victorious communist ideology, which he quite sincerely considered the only correct one. But his talent was much deeper and wider than ideological schemes, even when in the 1920s Deineke had to engage in their direct propaganda. Perhaps it was at this time of open agitation that the artist’s talent was revealed most deeply and widely.
From illustration to great work Continue reading
Social realism as a way of perceiving reality and labor in an embellished form appeared in the USSR in the 1930s and was intended to replace the “bourgeois” art, which then belonged to everything that does not sing the “man of action.” Being ridiculed by Mikhail Bulgakov in The Master and Margarita, such an approach ordered the artist to relate to his art “according to workdays”: how many blessings he received, so much text he had to pass. In the same way as in the writers’ union (invented by Bulgakov MASSOLIT) “if you have a trip for a week, then the writer must pass the story, for two weeks – the story, and only for three weeks in the“ Swallow Nest ”in Crimea – and the whole novel can be” .
In alliance with the revolution?
Such unions, punishing and testing the activities of people of liberal professions were introduced in all areas. Thus, in the early 1930s, the People’s Commissar Lunacharsky devoted a series of articles in the Izvestia newspaper to new realism as a style in which writers and artists should strive to work. Continue reading
Kandinsky became the creator of abstract art in its pure form, its theorist and creator. In his early works, which strongly influenced the French and German influence, and undoubtedly in the later ones, the artist asserts the possibility of self-expression, freed from reality, painting, born “from the artist”, “from the mental vibrations”; born not as a “dead word”, but as a “fertilizing abstract spirit that has found a form for revelation” and “spilling over into a symphony whose name is the music of the spheres”.
After the October Revolution, abstraction was for some time proclaimed official art, and Kandinsky held leading positions in virtually all institutes and colleges, research museums and centers, but his ideas were not in demand by the Soviet society. However, the rejection of art, where the “brush itself seeks paint,” began even before October. Continue reading
After the October Revolution, the artist lived in the Crimea for two years, then a year in Tiflis and Baku, after which he emigrated to France – his path lay from Batumi, through Marseille, and in 1919 the artist moved to Paris. There he becomes a set designer: he collaborates with the Bat and Balaganchik theaters. The whole activity of these theaters was due to Sudeikin. D.Z. Kogan, who studied the heritage of the artist, notes that the creative principles of the artist largely influenced and determined the activities of the theater. “Here is a light genre with a claim to the meaningful“ fooling ”, and stylization, and lightweight grotesque, and the sharpness of shifts and displacements, and confusion of theater and life, truth and lies, and the combination of earthiness and sublimity. The sketches and programs designed by him were popular among Russian emigration mainly due to the “Russian national style”.
In Paris, draws ballet performances for the troupe A. Pavlova (ballet “Fairy Dolls” and “Sleeping Beauty”). Participates in the Russian group exhibition in the Paris gallery “Dancy”. Continue reading
Konstantin Somov is one of the representatives of Russian symbolism. The development of the artist’s style was largely influenced by his studies at the Paris-based Colorassi studio (1897–1899); it was then that he mastered the lessons of modern and French rococo. The scenes of his canvases resemble gallant balls and masquerades, which were characteristic of the bygone XVIII century. Modernity in his works is mystically connected with the previous epoch, the genre scenes of his canvases are reminiscences of the last century, his characters vaguely resemble puppet Watteau, Boucher and Fragonard, but unlike their predecessors, the artist endows those depicted more mystical ghostly than elegant elegance. V.A. Lenyashin rightly noted that the sources of Somov “beyond the borders of the past days” are much deeper, more blunt: Botticelli, Watteau, Hoffmann.
The ghostly transparent eroticism, without which Somov did not think of art, then permeates the irreversibly spicy pages of the Book of the Marquise, appears about (like the Casanova doll) in the naively challenging and mechanically outspoken image of Columbine. Continue reading